Joyce Michaud

Joyce Michaud

Biography

My work celebrates life, the perfect architecture of nature and form that follows function. My ceramic works extend the concepts of color, line and texture from the two dimensional world of the flat plane into the reality of the three dimensional world. The study of the physical forces inherent in the production of ceramics on the turning wheel brings the artist full circle from the inspiration by nature to the study of natural forces.The correlation of nature in my work continues as the asymmetrical irregularities, surface texture and color produced by the firing process brings the clay form back to nature for the organic markings which are the gift of the fire.

“The aim is not to express myself by using materials, but to rediscover myself bound inseparably with materials and nature.” Kichizaemon xv Raku Raku Tea Bowls: The Essence of the Form.

Joyce Michaud's work is a study in contrasts, covering a broad spectrum. Her stoneware pieces glow with the richness of the clay and the depth of surface created by porcelain slip that lies beneath the varying layers of translucent glaze. Her transparent porcelain work requires a quiet confidence and a delicate touch. Creating with porcelain presents many challenges because every nuance of touch affects the structural integrity of the form during its creation. Yet, despite its delicate appearance and translucent qualities, an internal strength is inherent in its finished state. In a wood fire, the strength of the piece is reinforced as it is thrown by the flow of the penetrating heat and ferocious velocity as the flame roars through the kiln. Along with the scars of survival, each piece emerges from the ashen depths of the kiln with a lustrous surface quality and the crystalline glow of survival. Each pot, each firing has its own voice, tells its own story.

“The firing is the climax of the potter's labor.” Bernard Leach

Joyce Michaud's pottery is a study in contrasts presented at the culmination of the potter's work—the firing. Porcelain pinch pots, hand thrown impressions and cairns, wrapped towers large touchstones are vitrified by firing for 14 days in a wood fired anagama kiln, three days in a hikarigama, two days in a wood/salt fast fire kiln, or soda fired or shino glazed for 18 hours in a gas fired reduction kiln. The unique markings of the flame enhance the form. The record of the lick of the flame depends on the pot, the clay, the kiln, the fuel, the placement in the kiln, the temperature, the firing schedule, the cooling and all the other variables that nature and life itself presents.

“A pot is the person, and no disguise is possible.” states Bernard Leach in his book “The Potter's Challenge.”

Visited Australia Potters Association and met with current and past association presidents
Visited clay programs and ceramic arts galleries in the Sidney area with president of Australian Ceramics Association, Barbara Campbell-Allen.

Researched indigenous coil building techniques

Australia National University, Canberra, Victoria, Australia
My Life in Art, lecture for distance learning seminar students
Researched curriculum and administration of distance learning program in the ceramic arts

2001 Evolving Legacies, National Council for Education for the Ceramic Arts, Charlottesville, NC,
Organizer, Panel Member and Presenter: The Fine Art of Teaching Throwing
Woodfire Extravaganza: Conference on the Art of Firing with Wood, University of North Texas, Denton, TX

Hood Mission

Through an integration of the liberal arts and the professions, Hood College provides an education that empowers students to use their hearts, minds and hands to meet personal, professional and global challenges and to lead purposeful lives of responsibility, leadership, service and civic engagement.